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‗The Dignity of Labor': African-American ‗THE DIGNITY OF LABOR‘: AFRICAN-AMERICAN CONNECTIONS TO THE ARTS AND CRAFTS MOVEMENT, 1868-1915 Elaine Fussell Pinson Submitted in partial fulfillment of the requirements for the degree Masters of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2012 ©2012 Elaine Fussell Pinson All Rights Reserved TABLE OF CONTENTS ACKNOWLEDGEMENTS ii LIST OF ILLUSTRATIONS iv PREFACE ix INTRODUCTION 1 CHAPTER ONE: 8 ‗The Dignity of Labor‘: Work and Social Reform CHAPTER TWO: 26 ‗Training, Head, Hand, and Heart‘: African-American Industrial Education CHAPTER THREE: 56 Exposure and Influence: African-American Industrial Education Beyond School Walls CHAPTER FOUR: 82 ‗Working with the Hands‘: Objects and the Built Environment at Tuskegee Institute CONCLUSION 97 NOTES 101 BIBLIOGRAPHY 118 ILLUSTRATIONS 129 i ACKNOWLEDGEMENTS Many people encouraged, assisted, and supported me in all stages of this project. I offer my sincere thanks and appreciation to Cynthia Williams, director and assistant professor, Smithsonian-Mason MA in the History of Decorative Arts for her continued support and understanding. My thesis advisor and first professor at HDA, Heidi Nasstrom Evans, Ph.D, professor of George Mason University, provided encouragement and insightful and diplomatic critiques. My thesis would not have come to fruition without her. Dr. Eileen Boris, Hull Professor and Chair, University of California, Santa Barbara, read and provided incisive comments on my thesis draft. Professor Dorothea Dietrich provided constructive feedback during the thesis proposal process. And thanks to my professors and colleagues in the HDA Program who felt my ―pain‖ and lessened it with their kindness and commiseration. I would like to thank Kathy Woodrell, reference specialist, Decorative Arts; Sibyl E. Moses, Ph.D, reference specialist, African American History; and their fellow librarians in the Social Science and Humanities Division at the Library of Congress for their assistance and interest. Robyn Harris, museum specialist at the Tuskegee Institute National Historic Site, National Park Service, graciously shared her time and expertise. The staffs at the Tuskegee University Museum and Archives and the Hampton University Museum and Archives also provided much-appreciated assistance. This work was supported by a Craft Research Fund grant from the University of North Carolina, Center for Craft, Creativity and Design. I am grateful for their generous financial support. ii My thanks and appreciation go to Timothy Flanagan, executive director, and to my co-workers at the Washington Area Community Investment Fund, Inc., for their acceptance of my extremely flexible work schedule. I would like to remember our late colleague, Macrina Samaka, who was always interested in my progress on my thesis. I finally finished it! To my mother, Fayetta L. Fussell, and father, Raymond Fussell, who still do not really know what I have been working on for the past year, but have nonetheless encouraged me in this (and in all my) endeavors. My heartfelt appreciation goes to my husband, Leo, for his understanding, support, and innumerable home-cooked meals and domestic chores. My family and friends have graciously accepted my absences, both physical and mental, during this journey. I can never thank them enough. iii LIST OF ILLUSTRATIONS Figure 1. ―Booker T. Washington in his office,‖ 1902. Figure 2. William Morris, ca 1884. Figure 3. Charles Rohlfs, ca. 1905. Figure 4. Gustav Stickley, undated photograph. Figure 5. John Ruskin, ca. 1867. Figure 6. General Samuel Chapman Armstrong, undated photograph. Figure 7. Mary Fletcher Mackie, ca. 1890. Figure 8. Ellen Gates Starr, undated photograph. Figure 9. Thomas Carlyle, undated photograph. Figure 10. The Slave Ship by J.W.M Turner Figure 11. W.E.B. Du Bois, ca.1903. Figure 12. J. Liberty Tadd, undated photograph. Figure 13. Charles Godfrey Leland, undated photograph. Figure 14. John Dewey, undated photograph. Figure 15. Robert Russa Moton, ca. 1920. Figure 16. Student‘s Report Blank of Robert Darnaby, dated Spring, May 25, 1905. Figure 17. ―Lady Gardeners.‖ Detail of the mural Who’s Who at Kew by Magnus Irvin, 2006. Figure 18. Demonstration of milk testing in stable, at Hampton Institute, Hampton, Virginia, ca. 1899-1900. Figure 19. Olivia Davidson Washington, second wife of Booker T. Washington. Figure 20. Fannie Norton Smith Washington, first wife of Booker. T. Washington. iv Figure 21. Margaret Murray – Mrs. Booker T. Washington, ca. 1893-1900. Figure 22. Elbert Hubbard, 1904. Figure 23. The Washington Bee, December 21, 1895. Figure 24. W.E.B (William Edward Burghart) Du Bois, 1918. Figure 25. ―Howard Univ., Washington, D.C., ca. 1900 – sewing class.‖ Figure 26. Thomas J. Calloway, ca. 1900. Figure 27. Paris Exposition: Eiffel Tower and Celestial Globe, Paris, France, 1900.” Figure 28. Paris Exposition: Palace of Social Economy and Congress, Paris France, 1900.” Figure 29. ―Old time cabin,‖ ca. 1899 or 1900. Figure 30. ―African American man giving piano lesson to young African American woman,‖ 1899 or 1900. Figure 31. ―Hampton Institute, Va. – a graduate (dining) at home,‖ 1899 or 1900. Figure 32. ―Hampton Institute, Hampton, Va., 1899 – male and female students in Geography class, ‗studying cathedral towns,‖ 1899 or 1900. Figure 33. ―Hampton Institute, Hampton, Va., 1899 – studying Whittier,‖ 1899 or 1900. Figure 34. ―Hampton Institute, Hampton, Va., 1899 – Classroom scenes – Bible history,‖ 1899 or 1900. Figure 35. ―Hampton Institute, Hampton, Va., 1899 – field trip to marsh – studying soil formation . ,‖ 1899 or 1900. Figure 36. ―African American woman, head and shoulders portrait, facing right,‖ 1899 or 1900. Figure 37. ―African American woman, half-length portrait, facing slightly left,‖ 1899 or 1900. Figure 38. ―Four African American women seated on steps of building at Atlanta University, Georgia,‖ 1899 or 1900. v Figure 39. ―African American woman, head and shoulders portrait, facing front,‖ 1899 or 1900. Figure 40. ―African American family posed for portrait seated on lawn,‖ 1899 or 1900. Figure 41. ―African American man, half-length portrait, left profile,‖ 1899 or 1900. Figure 42. ―African American man, half-length portrait, facing front,‖ 1899 or 1900. Figure 43. Cover of Journal d'un nègre à l'exposition de 1900: soxiante-dix-neuf aquarelles originales de Henry Somm, 1901. Figure 44. ―A series of statistical charts ... descendants of former African slaves ...,‖ ca. 1900. Figure 45. Exhibit of the Hampton Normal and Agricultural Institute, winner of the Grand Prix at the1900 Paris Exposition, 1900. Figure 46. Pan-American Exposition, Manufactures and Liberal Arts Building, Buffalo, New York, 1901. Figure 47. ―Darkest Africa,‖ photograph by C.D Arnold, 1901. Figure 48. ―In Darkest Africa,‖ photograph by Frances Benjamin Johnston, 1901. Figure 49. The ―Old Plantation‖ exhibit on the Midway, Pan-American Exhibition, 1901. Figure 50. Jamestown Exposition, 1607-1907. Norfolk. Va. Exposition Design No. 3. Figure 51. ―Exhibits Building testifying to the progress of the African American race -- Jamestown Exposition [1907].‖ Figure 52. The Negro Development and Exposition Company. Figure 53. 1907 Jamestown Exposition, Hampton School Exhibit. Figure 54. Wagon made by Hampton Students displayed at 1907 Jamestown Exposition. Figure 55. China painting displayed at the 1907 Jamestown Exposition. Figure 56. China painting displayed at the 1907 Jamestown Exposition. vi Figure 57. Mrs. Humphry [née Mary Augusta Arnold] Ward, undated photograph. Figure 58. Former building of the Passmore Edwards Settlement, now Mary Ward House, Tavistock Place, London. Figure 59. Hull House, 1891-1894. Figure 60. Jane Addams, 1914. Figure 61. Ellen Gates Starr, 1914. Figure 62. Toynbee Hall, ca. 1902. Figure 63. The Tuskegee Student, Twenty-fifth Anniversary Issue, April 28, 1906. Figure 64. Table built by Tuskegee Institute students for use on campus. Figure 65. Table made by Tuskegee students. Figure 66. Detail of table made by Tuskegee students. Figure 67. Pew from original chapel at Tuskegee Institute. Figure 68. Detail of pew from original chapel. Figure 69. Detail of pew from original chapel. Figure 70. The Oaks, former home of Booker T. Washington. Figure 71. The Oaks Den, 1999. Figure 72. Chair and footstool made by Tuskegee students at The Oaks. Figure 73. Chair made by Tuskegee students at The Oaks. Figure 74. Chair made by Tuskegee students at The Oaks. Figure 75. Footstool made by Tuskegee students at The Oaks. Figure 76. Mission style sofa with leather-covered cushions at The Oaks. Figure 77. Detail of Mission style sofa. Figure 78. Plant stand, pine (TUIN 871), purchased for The Oaks. Figure 79. Mission style settee at The Oaks. vii Figure 80. Stickley room at 1903 Arts and Crafts Exhibition in Rochester, New York, 1903. Figure 81. Settle, Gustav Stickley, The Craftsman Workshops, oak and replacement leather upholstery, ca. 1909. Figure 82. Gustav Stickley's classic "Eastwood‖ chair with "Seat #725,‖ a footstool with cross-stretcher base, ca. 1901. Figure 83. Interior of the Carnegie Library, Tuskegee Institute, ca. 1901. Figure 84. Interior of the Carnegie Library, Tuskegee Institute, ca. 1901. Figure 85. Robert Robinson Taylor as a student at MIT, ca. 1890. Figure 86. Butler Chapel (1897), Tuskegee Institute, designed by African-American architect Robert Robinson Taylor. Figure 87. Thrasher Hall (1893), formerly Science Hall, Tuskegee University,
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